Accounting homework help

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PART II. Set up the solutions for the following queries based on the fixed assets register created in part a (Microsoft Excel functions i.e. filtering, vlookup (hlookup) and pivot tables must be used at least once in the solution).

  1. What are the total depreciation expense (from 1 July 2014 to 30 June 2015 only), accumulative depreciation and net asset value at the end of the financial year, 30 June 2015 for the respective assets in each location and category?
  2. Show all the assets in Melbourne branch which were purchased after 30 June 2012 and their respective cumulative carrying amount (book value).
  3. Predict the depreciation expense and total carrying amount (book value) at the end of June 2016 and at the end of June 2017, assuming no additional purchase or disposal after 30 June 2015 for each branch (show the subtotal amount for each categories in each branch).
  4. Show all the assets disposed from the Sydney branch in 2014 with their respective accumulative depreciation and carrying amount (book value)
  5. Fixed Asset Register Fictitious Manufacturing Firm June 30 2010
    Melbourne
    Individual Asset cost price Asset ID Asset Item Date of Purchase Depreciation Method Depreciation Rate Accumulated Depreciation Value Carrying amount
    BUILDINGS
    600,000 17765 80 01/01/2009 straight line 20,000 30,000 570,000
    LAND
    750,000 20976 50 30/06/2008 nil nil nil 750,000
    MOTOR VEHICLES
    10,000 45876 100 01/01/2010 straight line 500 250 9,750
    OFFICE EQUIPMENT
    50 12873 90 01/01/2009 straight line 10 15 35
    Sydney
    BUILDINGS
    700,000 17764 70 01/01/2009 straight line 30,000 45,000 655,000
    LAND
    800,000 20977 70 01/01/2008 nil nil nil 800,00
    MOTOR VEHICLES
    10,000 45877 50 01/01/2010 straight line 500 250 9,750
    OFFICE EQUIPMENT
    50 12874 50 01/01/2009 straight line 10 15 35
    Adelaide
    BUILDINGS
    500,000 17762 50 01/01/2009 straight line 15,000 22,500 477,500
    LAND
    600,000 20978 80 01/01/2008 nil nil nil 600,000
    MOTOR VEHICLES
    10,000 45878 50 01/01/2010 straight line 500 250 9,750
    OFFICE EQUIPMENT
    50 12875 60 01/01/2009 straight line 10 15 35

English homework help

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Refer to requirements on the attachment, including a simple .. please do not forget sources ..
the topic:
 Exhibition Critique-QEP
FOR EXAMPLE:

 

Cindy Sherman Self-Portraits Offer Empty Entertainment: Review

By Lance Esplund – Feb 26, 2012

Cindy Sherman represents everything that is wrong with the contemporary art world.

Considered a reigning matriarch of the “pictures generation” (the baby boomers who grew up in an era dominated by Pop art, Conceptualism, television and mass media), Sherman (born 1954) is a former painter who originally turned to photography for its relative ease, and to self-portraiture as a form of art therapy.

Extremely influential, she is credited with having elevated photography in the late 1970s to the level of painting — of high art — but in fact she has succeeded in combining the worst of both worlds.

Sherman, a campy surrealist mired in surfaces, appropriates the distortions of portrait painting without comprehending their metaphoric intent; and she reduces photography to mere documentation of her studio stagings, stripping the medium, as well as the genre of self-portraiture, of its mysteriousness — its revelatory nature.

More than 170 of her theatrical photographs (almost all self-portraits and all “Untitled”) are the subject of a 35- year retrospective at the Museum of Modern Art (“Cindy”).

In these elaborately staged and ironic mise-en-scenes, Sherman is an ageless, timeless, gender-bending chameleon with many guises. Yet her focus is shallow, narrow — predominantly stereotypes.

Biker Chick

Sherman dresses up in makeup, costumes and retro-fashions. She incorporates props, prosthetics, sex dolls and masks. She photographs herself as the schoolgirl, aristocrat, frustrated housewife, film-noir heroine, biker chick, odalisque, demented clown and soap opera diva.

Or she appropriates historical figures such as Madame de Pompadour, or Renaissance and Baroque paintings and subjects such as an androgynous Caravaggio “Bacchus” and a 15th-century “Madonna and Child” — with Sherman’s exposed fake breast aimed directly at the camera.

At MoMA, these “History Portraits” are hung salon-style on burgundy walls, as if at a national portrait gallery. A performer and provocateur, Sherman knows her audience. Yet she remains slippery, evasive. Pushing buttons, she blends the right mix of irony, sexual titillation, humor, kitsch, nostalgia and references from mass media and art history.

Every photograph provides clues and a payoff. In one image, a wide-eyed Sherman holds her glistening red tongue between her fingers, and towers over a group of tiny toy figurines, as if riffing on the “Attack of the 50 Foot Woman.”

Suburban Every-Girl

In another, from a 1981 series in which she poses as clothed “Centerfold” models, she is the suburban every-girl of the era, lying alone at night, staring at the telephone.

Another photograph, from the 1992 series of “Sex Pictures,” is a Frankensteinian marriage of Hans Bellmer’s distorted body parts and Dr. Dolittle’s pushmi-pullyu. Here, Sherman has fused at the waist a set of anatomically correct nude male and female medical torsos.

Decked out on satin sheets with abundant pubic hair and rolls of fat, the pair of stumped torsos looks real. The magic is in the details — the gleaming penis ring and telltale tampon string.

And MoMA understands the power of Sherman’s spectacle. The show begins in the sixth-floor lobby, as if outside the Big Top, with her latest work, a giant wall mural depicting 18-foot-tall images of Sherman posing as a 19th-century circus juggler, Teutonic knights (clothed and nude) and a middle-aged, middleclass woman from the 1970s.

Mocking Stares

As in all of her self-portraits, the figures look down on us with vacuous, mocking stares that suggest that nothing, including Sherman’s art, should be taken very seriously.

Inside the galleries, the most compelling pictures are Sherman’s small, early black-and-white images from the fictional “Untitled Film Stills” (1977-80). Adopting various personas, and posed dramatically and always alone, Sherman occupies streets, yards, pools, beaches and interiors.

The scenes feel so familiar that at first you cannot help trying to recall their films of origin. We feel as if we know these actresses and their locations, as well as their narratives, costars and directors.

But it is all a ruse. Even here, her characters lack depth and dimension. They cannot escape from their overbearing surfaces and artificialities. At MoMA, posturing passes for probity.

Ambiguity is mistaken for art. Revealing virtually nothing in her photographs, Sherman turns self-portraiture on its head.

 

 

 

 

 

 

 

 

 

 

          Works Cited

“Cindy Sherman- Retrospective.” MoMA. 11 West 53rd Street, New York, NY 10019. 26 February 2012.

Esplund, Lance. “Cindy Sherman’s Self-Portraits Offer Empty Entertainment: Review.” Bloomberg News- Muse Section (2012): Web. 27 July. 2013. http://www.bloomberg.com/news/print/2012-02-27/cindy-sherman-self-portraits-offer-empty-entertainment-review.html.

Methodological Critiques of Museum Exhibitions

 

Biographical critique of a museum exhibition:

ttp://www.wcax.com/story/19212023/flow-art-space-selects-flynn-geissels-biographical-installations-for-august-passages-pathways-portals-exhibit?clienttype=printable

 

Feminist critique of a museum exhibition:

http://www.afterall.org/online/rebelle

 

Formalist critique of a museum exhibition:

http://www.artinamericamagazine.com/features/when-formalist-criticism-fails/

 

Iconographic methodology applied to a museum collection:

http://www.sfgate.com/entertainment/article/Art-review-Mami-Wata-Arts-for-Water-Spirits-3172344.php

 

Marxist critique of museum exhibition:

http://www.marxist.com/hopper-exhibition-tate.htm

 

Psychoanalytic critique of a museum exhibition:

http://arthistory.about.com/library/weekly/bl_dalipma_rev.htm

 

Semiotic critique of museum exhibition:

http://australianmuseum.net.au/Uploads/Documents/10111/semiotic%20analysis%20for%20website.pdf

Exhibition Critique-QEP Scoring Guide 

 

Name __________________________________  Date __________ 

 

This assignment will require a trip to a museum (either physically or virtually) after which you will consider the works on view within an exhibition/collection, and write a paper critiquing the organization and curatorial concerns of exhibition taking the following elements into consideration. An example can be found on Libguides.

 

Elements  Criteria  Not Evident8  Beginning9  Developing10  Competent 

12.5 
Purpose  Clearly identifies mainissue(s), problem(s), orintention(s) of the curator of the exhibition.        
Perspective  Investigates point(s) of view of the curator and their assumptions.        
Evidence  Supports critique with relevant and sufficient evidence,as well as defining concepts, including titles of specific pieces.        
Analysis  Analyzesthe consequences and implications of curator’s intent andset-up of exhibition.What is the curator prompting the viewer to “do” or feel?        
Core Values  Addresses core value(s) specifically and connects it/them to the theme or specific pieces within the exhibition        
Decision 

Making 

 Identifies the choices made by the curator in relation to effectively communicating to the viewers of this exhibition. Would change (or not) anything regarding the collection. Give examples/specifics either way        
Organization  Writes in a manner that is highly effective and connected from the introduction to the conclusion. Ideas, thoughts and concepts are uniquely expressed and connected.        
Conventions  Demonstrates clear understanding of  grammar and MLA format.        

 

Comments: Score: ___________

 

ANSWER

    NAME OF STUDENT:

            COURSE CODE:

             COURSE TITLE:

 INSTRUCTORS NAME:

MUSEUM

The “Indian Room” is the first space available to visitors. In order to get to all other parts of the venue, guests must pass by the Native American artifacts. This has both positive and negative connotations: critics could say that the curiosity factor is being utilized while advocates would say that the prime location shows the importance of the Native American cultural legacy. Upon entry to the “Indian Room”  the visitor is taken aback by the mass of cultural material kept into one room. Most of the material is from Yokut Indian tribes.  The term “Yokut” which means “people” in native Valley dialects was applied to all of the groups by White settlers. On the left wall, baskets, winnowing trays, seed beaters, cradle boards and other woven artifacts are hung and stacked in large cabinets. Hanging above the basketry are large photographs circa 1910 of native life reenactments American Indians posing in front of their dwellings, In the back right corner of the room is another display of “arrowheads”  There are decorative collages of projectile points, knives, needles, beads, pottery, and even textiles from different sites around the county. It appears as if the donors, Donald and Josephine Witt, had collected the artifacts and created these artistic collages to showcase them personally. None of the artifacts in the collages are labeled. The artistic collages project a White idea of beauty instead of allowing the artifacts and their craftsmanship to stand on their own. Below the hanging collages are displays of other artifacts, including examples from the Yokuts‟ monetary system: shells, shell beads, and soapstone beads. On the floor along the right side wall lie around 40 examples of groundstone. They are all under the title “Mortars and Pestles”. Although most are indeed bowl mortars and random unmatched pestles, there are a few very good examples of milling slabs and handstones which were not labeled. It appears as if guests have been able to handle and experiment with the artifacts since there is no barrier between the objects and visitors. Projectile point collages in the “Indian Room”. 39 In the center of the room is a display of artifacts (mostly basketry) from other Native American groups not found in California. Featured cultural groups include Crows, Navajos, Shoshones, and Chippewas. Two other featured displays include a full-size recreation of a pictograph found on a dam construction site that had to be destroyed and a recently painted mural by local artist Mona Selph. The mural “is an attempt to selectively portray the most commonly held beliefs relating to the structure of the Yokut‟s world” (Commentary plaque on the side of the mural). The mural includes interpretations of the Milky Way, the a eagle spirit, and a bird like chief called TIHPNIKITS who appears to be the equivalent of a Western angel of death. The mural was created with a grant from the Tulare County Regional Arts Council. There is an activity area for guests to utilize. Stamps with different designs found on Yokut basketry could be used on paper and taken home as a souvenir. The meanings of the designs (lightning, different animals, man and woman) were stated so guests can look for the same stamp designs on the actual artifacts. This activity area, in my opinion, allowed younger guests to examine the baskets more closely and see Native spiritually and socially important figures manifested in cultural material. This idea of manifestation was not discussed by the museum, instead only the stamps and their translation were available.  Mural and millingstone technology in the “Indian Room”. 40 Overall, I found the “Indian Room” both overwhelming and disappointing. I found myself searching for descriptions and explanations. This area of the museum is rather elementary for the only county museum that displays Native American artifacts. I could usually find out what certain artifacts were used for on a basic level. I was not, however, able to find how the baskets, projectile points, or pictographs were made, who made them, or their significance in everyday life. The emphasis is on the object and not the people. Current archaeological and other scientific information is not displayed and when it is there are inaccuracies. It is obvious that the room has not received much attention since the 1950‟s. Right next door to the “Indian Room” is an unnamed but obvious “Cowboy Room”. The cabinets are overstuffed with limited commentary like the Native American sections. Saddles, hats, and branding irons, and countless guns were some of the articles on display. The large cowboy firearms were not made into decorative and frivolous collages like the projectile points of the Yokuts, but instead displayed on racks to showcase their craftsmanship and strength. The next area was devoted to wartime artifacts. Visitors on their way through to the Pioneer Village would walk first through the “Indian Room”, then the cowboy room, then the wartime area a subconscious proponent of violence perhaps even “us versus them”. The remaining historical indoor section is about five times larger than the “Indian Room”. This area is almost just as disorganized as the “Indian Room” but appears to have had more recent attention and exhibit changes. Guests are drawn into the other rooms by music, slideshows and the opportunity to participate in activities like trivia and “treasure hunts”. Displays offer artifacts and information from many eras in the county‟s and country‟s history. Artifacts from men and women, young and old, religious and secular, everyday and special occasions are utilized. There is an emphasis on the manifestation of the evolution of technology through artifacts. The people and the lifestyles are featured more than the artifacts themselves. One of the cabinets is revamped by a local historian every six months or so highlighting different aspects of White pioneer life in the county or country. There is little to no representation of a specific non-Euro-American culture which is surprising in such a diverse California county. To be fair, however, Tulare County has a very small Native American population and the nearest active tribe is about 30 miles East in the Sierra foothills. Behind the indoor museum is the extensive “Pioneer Village”. Buildings like homes, schoolhouses, a post office, a jail, and a blacksmith are interspersed among historic farm equipment and even a train‟s caboose. The structures and other objects all belonged to the late 1800‟s to the early 1900‟s

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

REFERENCES

Baudrillard, J. (1968). The system of objects: the system of collecting. Bonner, J. P. (1985). Museums in the classroom and classrooms in the museum. Anthropology & Education Quarterly , 288-293. Carbonell, B. M. (2004). Museum studies: an anthology of contexts. Oxford: Blackwell Publishing Ltd. Classen, C. (2007). Museum manners: The sensory life of the early museum. Journal of Social History, 895-914. Crary, Jonathan. (2002). Géricault, the panorama, and sites of reality in the early nineteenth century. pp. 5-25 The MIT PressStable. URL: http://www.jstor.org/stable/1262599 Accessed: 04/02/2011 Debary, O. (2004). Deindustrialization and museumification: From exhibited memory to forgotten history. Annals of the American Academy of Politcal and Social Scien

Operations Management homework help

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Scenario: Imagine that you have been hired as a consultant for a university that wants to leverage social media and networking technologies to encourage the collaboration of students, and improve their overall sense of community.

 

Analyze how the university might integrate at least two social media and networking technologies to accomplish their goals. Your analysis must cover the advantages and disadvantages of social networking. The president of the university also needs to know what the system development life cycle is, and how you intend on bringing social networking tools to life within this cycle.

 

Translate the critical details of your proposal into a 10- to 15-slide Microsoft® PowerPoint®presentation that you will present to the university president.

 

Include the process of acquiring the correct information systems and applications needed to effectively run these new pursuits.

 

Include the following in your presentation using the features of Microsoft® PowerPoint®:

 

  • A slide template
  • Slide layouts
  • Themes
  • At least one example of animation
  • At least one example of a media object

 

Format your assignment consistent with APA guidelines.

Marketing homework help

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write an assignment about answering this question.. “Are fashion ads designed entirely for the web rather than print now?”?” 

A Picture Is Worth a Million Likes

Are fashion ads now made entirely for the Web rather than print?

 

 

There’s an overused adage that says a picture is worth a thousand words, but in the age of Instagram the value of imagery is a lot higher. Once a niche app, Instagram is now a fully-fledged social network with 75 million people snapping and liking per day and nearly 300 million monthly active users. Chanel (@ChanelOfficial) has 2.4 million followers. That’s more than double than the monthly circulation of the British editions of Elle, Grazia, Vogue, Harpers Bazaar and InStyle combined.

 

When Cara Delevingne posts an image to her account it reaches 9.1 million people. Indeed, Instagram is now a powerful player in fashion publishing. Yet brands still prioritize — and pay for — print advertising and spend time and PR budget wooing fashion journalists for editorial credits. But could that be changing?

 

On the 6th of January, Céline released an image from their Spring/Summer 2015 campaign featuring Joan Didion, which seemed to really “break the internet,” as the expression goes. Didion was everywhere; in “think pieces”, on Twitter, on Facebook, on Tumblr.

 

Granted I work in fashion, but my own feed was 70 percent full of that one ad for about three to four hours after the image broke. I counted 13 posts of it in a row of — some customized with a warm Valencia filter, giving Joan a tan. Numerous outlets, including i-D and The Cut, picked up that this ad was made for the Internet rather than print, though, of course, Didion will look great on glossy paper.

 

They wrote of Didion’s “Tumblr currency,” a reference to the share-friendly, Like-able content that can be created around the cult of Didion, from vintage photographs to memorable, inspirational quotes. Indeed, so Internet-perfect was the ad, that it almost looked as if it could have been a fake, made by some overzealous Phoebe Philo enthusiast, much like the numerous joke ads that litter Instagram and Tumblr; see the scarily realistic Lindsey Lohan for Saint Laurent shots or that now ubiquitous (yet still oddly heart-warming) Grumpy Cat for Prada image. Indeed, these fake ads can get just as much traction as the real thing. Lohan for Saint Laurent was covered not only on gossip sites but by legitimate fashion media and even garnered a tweet from LiLo herself. Why shoot a campaign when you can get a teen fashion student with access to Photoshop to make one for you?

 

Around the same time as Didion dropped, Calvin Klein unveiled new underwear advertising featuring Justin Bieber. He has 21.9 million followers on Instagram and duly posted seven of the images, plus one video, to his account. All received well over a million likes. Such was the furore that “Saturday Night Live” parodied the ad. You don’t get that by booking David Gandy or whoever else is currently at the top of Models.com.

 

It may seem obvious that brands have always tried to tap into the zeitgeist and recruit figures with a large reach. After all, that’s why celebrities are paid to hawk perfumes, bags and lipsticks. Influence sells. It’s part of the reason Kate Moss is one the world’s most successful models. She’s a style icon on a mass level, aspirational yet accessible. But what does it mean for fashion advertising when the star of your campaign has more direct reach than any of the places you’re paying to put your ad? That’s a very new kind of influence. It changes who wields power.

 

Both Calvin Klein and (despite her well-documented aversion to the Web) Phoebe Philo with her Céline ad force you to question whether fashion ads are now being made almost entirely for the Web rather than for print. Is the purpose of a campaign now likes and shares rather than a lasting beautiful, printed image by a top photographer and an association with a respected title? It would certainly seem so. That’s no doubt why Estée Lauder tapped Kendall Jenner (17.9 million followers) as their face back in November of 2014 and got her to announce the news on her Instagram (one million likes for that post alone). Sure, those ads will appear in print, but the real campaign was the initial announcement.

Fashion’s conservatives will continue to argue that the prestige of being associated with magazines still counts. They’ll say glossies are barometers of taste, elevated aspirational voices that one should trust even more now that there’s so much noise online. But like it or not, fashion has become accessible. It’s mass — in many ways an extension of the entertainment industry. There are new tastemakers now; bloggers, social media stars and ‘it’ models. Really, when today’s teenagers spend 7.5 hours a day consuming digital media on their phones and laptops, what’s more likely to get them to fork out for a piece of clothing, a one page ad in a style magazine or a post from an icon they trust and ‘stalk’ every day?

Camilla Johnson-Hill, executive producer at The Production Club, whose clients include Balenciaga, Tom Ford, Hugo Boss, H&M, Burberry, Dior and Jil Sander says

“Instagram is definitely changing the way campaigns are viewed. On every shoot there are now multiple platforms to think about and many other images (behind the scenes shots and selfies) are created exclusively for it. Posting dates and so on are very much part of crew and models’ contracts.”

 

With new innovations popping up every day to make Instagram shoppable (see apps like LikeToKnow) you could argue that placing product on a printed page, a space where consumers cannot immediately buy it, is out-dated. For digital expert Rosanna Falconer, communications director of Matthew Williamson, “the web has so much more possibility [than print]: pre-order the look now, comment on the designer’s post and start a conversation with him; share your thoughts in a forum with fellow fashion geeks… Both conversation and commerce are easily accessible in Web advertising content.”

 

Part of the success of the Didion campaign came from how it seemed to follow a checklist for great online content. It was witty enough to merit shares but polished enough to still seem authentic. It’s a recipe of which lots of brands are aware. See Lanvin’s Autumn/Winter 2011 campaign video, which was released at a time when fashion creatives began receiving briefs from brands demanding ‘viral’ content (the notion that one can’t control whether something goes viral seemed to escape them). ‘Content’ is really the key word here. It’s not about ‘creative’ content in the same sense as say those adored old Versace catalogues, released to a precious few and now cherished as reference material by collectors, but pure Web fodder. What else can you expect in the age of Buzzfeed, listicles and the mighty hits of the Mail Online?

 

It’s the younger designers — those who grew up with the Internet and started their careers in a post-Google, post-Tumblr world— who get it best. J.W. Anderson’s debut campaign for Loewe, aptly debuted on his Instagram, really shows the way the web is affecting creative thinking. It featured an archive 1997 Italian Vogue editorial by Steven Miesel, reprinted and branded with Loewe. The irrepressible nostalgia that drives much of Instagram and Tumblr — see all those artfully cropped Corinne Day images of Kate Moss, grainy Lolita stills and ‘ironic’ reposts of early 1990s icons like Britney, Paris and Gwen — has created a culture where the remarketing of an old image seems natural, aspirational even. Without Instagram would the Loewe advertisement have worked?

 

If the creative director of a major luxury house — and one of the most hyped designers around — is taking leads from Instagram culture when putting together his campaign then it seems likely others will follow suit. It’s obvious that it’s no longer enough to impress readers in the pages of a magazine; ads have to work online too. But the Web requires punch, gimmicks, pop. So will today’s campaigns have lasting impact? Will they be reproduced and regrammed in the way Anderson reprinted Meisel’s editorial, seduced by the timeless nonchalance of that beach scene? Perhaps not. But today’s fashion culture is different. We demand a certain speed, a certain kind of immediacy that also comes with things feeling a little more throwaway. If the campaigns of today not only reflect contemporary style but also contemporary communications forms, then they properly reflect the times we live in — and isn’t that what fashion is all about anyway?

ANSWER

NAME OF STUDENT:

                                COURSE CODE:

                                COURSE TITLE:

                      INSTRUCTORS NAME:

 

 

 

 

 

 

 

 

 

 

 

 

 

FASHION ADS

Fashions ads  are pictures posted in the web for people to view them and the print now develops complete front to back end point solutions for print services  in the recent years the fashions seems to be designed for the web rather than the print now because  a picture is worth a thousand words in the age of social sites like Facebook and instagram where you will find a picture worth million likes and this has raised a lot of concern in the entire world even though some of the fashion ads are useful for the web I believe the print now is responsible for the fashion ads rather than the web.

Fashions concertizes continue to argue that the prestige of being associated with magazines still counts. Fashions has become accessible it’s a mass in many ways and extension of the entertainment industry. Today teenagers spend more than 7hours a day consuming digital social media and they can post any picture they think s good to them.

We can also say the fashions ads are now meant for the web because the entire world population most of the people are using the social media and everyone has got the freedom and right and to post anything of our wish and this has led to people posting pictures of their desire and pictures of their latest fashion again there is an easy access to the social sites and this has led to people posting pictures of their own wish and also uploading the pictures of their own wish with this easy access of the social sites and the internet the young generation have become addicted with the internet and tis has led to increased post of fashion ads because they become addicted and they compete within themselves who will post the best pictures.

 

 

 

Another reason why we say the fashion ads are designed entirely for the web rather than print is because the web is has become very influential and the entire world’s using the world to post everything they think is good with them and with this it has resulted to many fashion ads being posted and the people  are liking the idea of the web and everyone has become influenced by the web and this has resulted to more fashion ads being posted in the social sites this making people all over the world viewing them.

Fashions ds are web designed because the print now does not market itself and does not have a lot of futures or entertainment that will make people happy this has led to people only concentrating on the web which is more entertaining and where people interact and share their different views and pictures this has led to fashion ads becoming entirely or the web rather than the print now.

Fashion  ads are web designed reason being the internet has eased access to everyone and this has led to most people all over the world have an easy access to the internet and this being so everyone can post or upload anything in the web wherever and whenever anyone wants. Another thing is that the web has become addictive and this leads to most people posting the fashions ads each an every time and keeps viewing the ads each and every time they feel like I would recommend the print now to create a web of socializing and posting of the picture or it can take over the social sites like Facebook.

 

 

   

   REFERENCES

Cowley, A., & Sprat, T. (1668). The works of Mr. Abraham Cowley : consisting of those which were formerly printed, and those which he design’d for the press, now published out of the authors original copies. london: J.M. for Henry Herringman.

Heimann, J. (2006). 70s fashion : vintage fashion and beauty ads. London: Taschen.

 

 

History homework help

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Can we use the same concepts and vocabulary to discuss European immigration to America and the Great Migration of southern African Americans to the North? Why or why not?

 

Write two long paragrahs

ANSWER

                   NAME OF STUDENT:

                             COURSE CODE:

                         COURSE TITTLE:

                INSTRUCTORS NAME:

 

 

 

 

 

 

 

 

 

 

 

 

 

    IMMIGRATION

The immigration of European to united stated states was characterized by various reasons by 1870 and 1880 there was the end of one this g and the beginning of the other. The general cause of migration in the 1820 and 1875 was because of being detained and others moved because of their personal  reasons that were temporary and very limited in the range of their influence another reason was because of political and religious discontent  which made the Europeans to migrate another reason is because of they were dissatisfied with the system of taxation and the forest laws this did not impress the European and led to their migration also they were suffering the disabilities of a conquered race and a subject to foreign land proprietors and harassed by the upholders of a foreign religion and the agitation of religious and political leaders strongly combined with economic cause to promote their departure foe America. The railroads across made it easier for the Europeans to travel to America.

The great migration of African Americans to the north from 1916 to 1970 is because they were driven from their homes by unsatisfactory economic opportunities and harsh segregationist laws, and thy took advantage of the industries and they went  there to be employed as workers  as there was demand for workers  and also they moved because of the oppressive conditions of the south this made them to move to the north this oppressive conditions include lynching, inequality in education, denial of suffrage and unfair legal system. The railroad needed workers and went ahead to pay for them and this increased the migration of Africa Americans .the north lacked workers because of loss of their men  who left for the forces and they needed workers so much.

 

 

REFERENCES

 

Daniels, R. (1990). Coming to America : a history of immigration and ethnicity in American life. New York: HarperCollins.

Greenfield, E., & Gilchrist, J. S. (2011). The Great Migration : journey to the North. New York : Amistad.

Kurelek, W., & Engelhart, M. S. (1985). They sought a new world : the story of European immigration to North America. Montrea: Tundra Books.

 

 

 

Law homework help

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State Court System
Chapter outline
Introduction to Courts and Jurisdiction
State Court Systems
CONTOMPORARY ENVIRONMENT Deleware Courts Specialize in Hearing Business Disputes
Federal Court System
Supreme Court of the United States
CONTEMPORARY ENVIRONMENT The process of choosing a U.S. Supreme Court Justice
CONTEMPORARY ENVIRONMENT “I’ll Take You to the U.S. Supreme Court!”
Jurisdiction of Federal Courts
Case 2.1 U.S SUPREME COURT Hertz Corporation V. Friend
Standing to sue , Jurisdiction, and Venue
Landmark U. S. SUPREME COURT CASE International Shoe Company v. State of Washington
Jurisdiction in Cyberspace
CASE 2.2 Chanel, Inc. v. Banks
INTERNATIONAL law Jurisdiction System of Japan
“I was never ruined but twice; once when I lost a lawsuit, and once when I won one:
INTRODUCTION TO COURTS AND JURISDICTION
There are two major court systems in the United States: 1. Federal court system and 2. The court systems of the 50 states, Washington, DC (district of Columbia)., and territories of the United States. Each of these systems has jurisdiction to hear different types of lawsuits. This chapter discusses the various court systems and the Jurisdiction of different courts to hear and decide cases.
STATE COURT SYSTEM
Each state, Washington, DC; and each territory of the United States has its own separate court system (hereafter collectively referred to as state courts). Most state court systems include the following: limited-jurisdiction trial courts, general – jurisdiction trial courts, intermediate appellate courts, and a supreme court.
1. Limited Jurisdiction trial courts: State limited –jurisdiction trial courts, which are sometimes referred to as inferior trial courts, hear matters of a specialized or limited nature.
Examples Traffic courts, Juvenile courts, Justice-of-the peace courts, probate courts, family law courts, and courts that hear misdemeanor criminal law cases are limited –jurisdiction courts in many states.
Because limited –jurisdiction courts are trial courts, evidence can be introduced and testimony can be given. Most limited-jurisdiction courts keep records of their proceedings. A decision of such a court can usually be appealed to a general-jurisdiction court or an appellate court. Many states have also created SMALL CLAIMS COURTS to hear civil cases involving small dollar amounts (e.g., $5000 or less). Generally, the parties must appear individually and cannot have lawyers represent them. The decisions of small claims courts are often appealable to general-jurisdiction trial courts or appellate courts.
2. General –Jurisdiction Trial Courts: Every state gas a GENERAL-JURISDICTION COURTS. These courts are often referred to as courts of record because the testimony and evidence at trial are recorded and stored for future reference. These courts hear cases that are not within the jurisdiction of limited –jurisdiction trial courts, such as felonies, civil cases more than a certain dollar amount, and so on.
Some states divide their general-jurisdiction courts into two divisions, one for criminal cases and one for civil cases. Evidence and testimony are given at general –jurisdiction trial courts. The decisions handed down by these courts are appealable to an intermediate appellate court or the state supreme court, depending on the circumstances.
3. Intermediate Appellate Courts : In many states, Intermediate appellate courts (also called appellate courts or courts of appeals)hear appeals from trial courts. They review the trial court record to determine whether there have been any errors at trial that would require reversal or modification of the trial court’s decision. Thus, an appellate court reviews either pertinent parts or the whole trial court record from the lower court. No new evidence or testimony is permitted.
The parties usually file legal briefs with the appellate court stating the law and facts that support their positions. Appellate courts usually grant a brief oral hearing to the parties. Appellate court decisions are appealable to the state’s higher court. In sparsely populated states that do not have an intermediate appellate court, trial court decisions can be appealed directly to the state’s highest court.

4. Highest State Court: Each state has a highest state court in its court system. Many states call this highest court the state supreme court. Some states use other names for their highest courts. The function of a state’s highest court is to hear appeals from intermediate appellate state courts and certain trial courts. No new evidence or testimony is heard. The parties usually submit pertinent parts of or the entire lower court record for review. The parties also submit legal briefs to the court and are usually granted a brief oral hearing. Decisions of highest state courts are final unless a question of law is involved that is appealable to the U.S. Supreme court.
EXHIBIT 2.1 TYPICAL STATE COURT SYSTEM
Small claims courts and Municipal Courts and Justice –of –the peace courts go to state trial courts of general jurisdiction (one per County)
Civil division and criminal division and probate division and domestic relations division and juvenile division – go to state trial courts of general jurisdiction (one per county).
From State trial courts of general jurisdictions – go to state appeals courts
From states appeals courts – go to state supreme courts
From state supreme court – go to Appeal to U.S. Supreme Court.
ASSIGNMENT:(Based on CASE 2.1: U.S.Supremen Court Hertz Corporation V. Friend-that is what I chose)
• ASSUME THAT THE HIGHER ON THIS CHART THE CASE IS THE MORE EXPENSIVE IT IS FOR ALL PARTIES.
• Write a memo on a State (not Federal) level business dispute. Describe as if you were writing a “WHITE PAPER” FOR YOUR BOSS WHO WANTS TO KNOW HOW A CASE LIKE THE ONE YOU HAVE CHOSEN WOULD BE PROCESSED THROUGHOUT THE VARIOUS LEGAL PHASES IN A STATE COURT SYSTEM.
• Because most cases never make it to trial, it is also important to consider alternative methods of dispute resolution. Suppose your selected case was initially submitted to alternative dispute resolution (ADR). What methods of ADR would be available to pursue? Which of these ADR methods do you think would be the most appropriate? Why?
REQUIRED ELEMENTS:
• Discuss the differences in costs and benefits of going through traditional litigation and pursuing ADR in this case (consider for example, why one of the parties in the case you’re looking at may have preferred keeping the case out of court).
• No more than 700 words.
• Provide appropriate references and citation where applicable.

(ANSWER IN APA FORMAT-2.5 PAGES ONLY + COVER PAGE + REFERENCE PAGE).

ANSWER

                   NAME OF STUDENT:

                           COURSE CODE:

                          COURSE TITLE:

               INSTRUCTORS NAME:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

            Traditional Litigation versus Alternative Dispute Resolution 

Litigation has become increasingly ineffective in dealing with many business disputes. The cost of litigation, combined with the time to resolution and the burden on company executives, often renders it a distasteful experience for corporate clients. Although many companies have in-house counsel who are accustomed to the trials and tribulations of litigation, company executives still have to be involved, either as witnesses, in settlement negotiations, or in explaining the case to other management.

As a result, alternative dispute resolution has become an increasingly popular method to resolve commercial disputes. From a litigator’s perspective, this trend toward dispute resolution has advantages and drawbacks. On the plus side, it usually allows for a faster, less expensive resolution, and therefore a more satisfied client. On the minus side, ADR does not always allow a lawyer to delve deeply enough into the evidence, and in the case of nonbinding arbitration or mediation, can sometimes lead to a more expensive and slower resolution.

In general, alternative dispute resolution is accomplished through either arbitration or mediation. The primary difference between the two is that in mediation, the sole purpose is to have the parties reach a settlement, whereas in arbitration, an actual ruling or decision is made. A mediator acts as a settlement referee, and normally presents his or her conclusions on the ultimate outcome of the case only to the extent that they may advance the settlement process.

Since it is not binding on the parties, mediation is only successful if the parties can arrive at a mutually agreed result, with the mediator’s assistance. Arbitration can be required by a contract or other agreement, or can be agreed to by the parties after a dispute arises. Mediation can also be contractually required or done voluntarily. Generally, a contract sets out the basic type of arbitration or mediation by reference to a particular organization or method of alternative dispute resolution.

Arbitration can be binding or nonbinding. Binding arbitration is similar to traditional litigation in that the parties present their cases and the arbitrator renders a decision on the merits. It is most useful where the parties have a legitimate dispute that both sides want to resolve quickly and efficiently. While binding arbitration is usually a result of a contract clause requiring arbitration in the event of a dispute, it should also be considered where no arbitration clause exists, but parties have a dispute they want to resolve. Binding arbitration is best when it is implemented from the beginning of the dispute, because in that situation the full advantages of reduced time and cost can be recognized. Arbitration is most like litigation, in that the parties normally engage in discovery and make formal presentations to the arbitrator. Because of these aspects, arbitration is usually more expensive than mediation, though less expensive than litigation.

I find that ADR works best after the parties and I prefer that the parties using the traditional litigation should have kept the case out of court because i have engaged in some discovery and some exploration of their respective positions. Thus, it is usually most successful after the initial written discovery exchanges and a few depositions. If it is attempted before this stage of litigation, I recommend that the parties agree as to what additional discovery should be conducted, either formally or informally. Alternative dispute resolution is also most effective immediately before a court ruling on an important motion or issue, such as summary judgment or a motion to dismiss. At that time, both parties have to worry about what happens to their case if they lose the motion. Resolution at that time buys each side certainty.

ADR resolution is being used more and more to avoid what is perceived as the courts’ inability to efficiently resolve business disputes. Since the vast majority of cases settle before trial, it makes sense to try to resolve the case part way through the litigation process, rather than on the eve of trial. Similarly, for those cases that would otherwise go to trial, binding arbitration can achieve a final resolution, generally more quickly and inexpensively than the courts. As alternative dispute resolution becomes more accepted, and the arbitrators and mediators become more successful in resolving disputes, we will probably see even more dispute resolution. It makes sense to embrace ADR and use it as a tool to help your clients obtain better results, more efficiently.

 

 

 

 

 

 

 

 

 

REFERENCES:

Altman, A. (2001). Arguing about law : an introduction to legal philosophy. Belmont,: Wadsworth/Thomson Learning.

Brown, H. J., & Marriott, A. L. (1993). ADR principles and practice. London: Sweet & Maxwell, .

Respondents, California citizens, sued petitioner Hertz Corporation in a California state court for claimed state-law violations. Hertz sought removal to the Federal District Court under 28 U. S. C. §§1332(d)(2), claiming that because it and respondents were citizens of different States, §§1332(a)(1), (c)(1), the federal court possessed diversity-of-citizenship jurisdiction. Respondents, however, claimed that Hertz was a California citizen, like themselves, and that, hence, diversity jurisdiction was lacking under §1332(c)(1), which provides that “a corporation shall be deemed to be a citizen of any State by which it has been incorporated and of the State where it has its principal place of business.” To show that its “principal place of business” was in New Jersey, not California, Hertz submitted a declaration stating, among other things, that it operated facilities in 44 States, that California accounted for only a portion of its business activity, that its leadership is at its corporate headquarters in New Jersey, and that its core executive and administrative functions are primarily carried out there. The District Court concluded that it lacked diversity jurisdiction because Hertz was a California citizen under Ninth Circuit precedent, which asks  whether the amount of the corporation’s business activity is “significantly larger” or “substantially predominates” in one State. Finding that California was Hertz’s “principal place of business” under that test because a plurality of the relevant business activity occurred there, the District Court remanded the case to state court. The Ninth Circuit affirmed. While there may be no perfect test that satisfies all administrative and purposive criteria, and there will be hard cases under the “nerve center” test adopted today, this test is relatively easier to apply and does not require courts to weigh corporate functions, assets or revenues different in kind, one from the other. And though this test may produce results that seem to cut against the basic rationale of diversity jurisdiction, accepting occasionally counterintuitive results is the price the legal system must pay to avoid overly complex. jurisdictional administration while producing the benefits that accompany a more uniform legal system.

 

 

 

History homework help

/in /by

Week 4 PowerPoint assignment

 

Resources: Review Ch. 7 of Oxford History of Art: Twentieth-Century American Art, the Week Four Electronic Reserve Readings, your Video Reflections, and at least one additional scholarly online or library resource.

 

Prepare a 5- to 10-slide Microsoft® PowerPoint® presentation in which you examine the connection between the work of Andy Warhol and popular culture.

 

Include responses and discussion of the following in your presentation:

 

An overview of Andy Warhol’s biography

A description of Pop Art

A description of at least 3 works produced by Andy Warhol

A discussion of how Warhol’s themes and subjects examined American culture

Submit your Pop Art and Andy Warhol Presentation.

For Local Campus students, these are oral presentations accompanied by Microsoft® PowerPoint® presentations.

For Online and Directed Study students, these are Microsoft® PowerPoint® presentations with speaker’s notes which support and expand upon your bulleted text.

Format your presentation consistent with APA guidelines and include a slide with all references.

Submit your assignment using the Assignment Files tab above.

 

History homework help

/in /by

what does Evidence-based practice mean to you?

 

The concept of Evidence-Based Practice (EBP) may not be one with which “seasoned nurses” are familiar. Assume you are the newly appointed Nursing Leader in a busy Orthopedic Clinic. Explain how you would educate the entire nursing staff on EBP without “offending” the “seasoned” nurses. What interpersonal and communication skills would be important to utilize?

 

As you consider how to address this question, be sure to also share what your work environment is doing to ensure EBP.

ANSWER

NAME OF STUDENT:

            COURSE CODE:

           COURSE TITLE:

 INSTRUCTORS NAME:

 

 

                     EBP

      EBP is the intergration of clinical expertise,patient values and the best research evidence into a decision making process for patient care it can also be using the best research proven assessments and treatments in our day-to-day client care and service delivery.

I would educate the entire nursing staff on EBP without offending the seasoned nurses by explaining them what it is and tell them what it is and explain to them I would also explain the process of evidence based practice and explain to them step by step  I would also tell them them where evidence practice from and explain to them in details.

I will also tell them what happened before evidence based practice so as to make the seasoned nurses understand what it is all about, I will also explain to them whether the evidence based practice is the same as guidelines also whether it is the same as randomized controlled trials. I will also go ahead and explain to them the importance of based practice and tell them the common criticism of evidence based practice. I will finalize by explaining to them the scope evidence based health care.

The interpersonal skills I would use is negotiation so that I work mutually with them so as to find mutually agreeable outcome and also I would use problem solving and work with them to identify, define and solve problems I also would involve assertiveness so that everyone can communicate our values, ideas, beliefs , opinions, needs and wants freely. The communication skills I would apply is friendliness so as not to offend the seasonal nurses I will also be confident in explaining myself. I will be respectful and I will also allow feedbacks to come through so that they can all understand. I will make sure I will have some clarity and concision.

 

 

REFERENCES:

Documen, e. :. (2007). EBP briefs. Minneapolis: Pearson,.

Godshall, M. (2010). Fast facts for evidence-based practice : implementing EBP in a nutshell. New York: Springer Pub. Co.

Sutch, D., Keller, M. A., & (Firm), C. P. (1994). Interpersonal communication skills. Boulde: CareerTrack Publications.

 

 

History homework help

/in /by

what does Evidence-based practice mean to you?

 

The concept of Evidence-Based Practice (EBP) may not be one with which “seasoned nurses” are familiar. Assume you are the newly appointed Nursing Leader in a busy Orthopedic Clinic. Explain how you would educate the entire nursing staff on EBP without “offending” the “seasoned” nurses. What interpersonal and communication skills would be important to utilize?

 

As you consider how to address this question, be sure to also share what your work environment is doing to ensure EBP.

ANSWER

NAME OF STUDENT:
COURSE CODE:
COURSE TITLE:
INSTRUCTORS NAME:

EBP
EBP is the intergration of clinical expertise,patient values and the best research evidence into a decision making process for patient care it can also be using the best research proven assessments and treatments in our day-to-day client care and service delivery.
I would educate the entire nursing staff on EBP without offending the seasoned nurses by explaining them what it is and tell them what it is and explain to them I would also explain the process of evidence based practice and explain to them step by step I would also tell them them where evidence practice from and explain to them in details.
I will also tell them what happened before evidence based practice so as to make the seasoned nurses understand what it is all about, I will also explain to them whether the evidence based practice is the same as guidelines also whether it is the same as randomized controlled trials. I will also go ahead and explain to them the importance of based practice and tell them the common criticism of evidence based practice. I will finalize by explaining to them the scope evidence based health care.
The interpersonal skills I would use is negotiation so that I work mutually with them so as to find mutually agreeable outcome and also I would use problem solving and work with them to identify, define and solve problems I also would involve assertiveness so that everyone can communicate our values, ideas, beliefs , opinions, needs and wants freely. The communication skills I would apply is friendliness so as not to offend the seasonal nurses I will also be confident in explaining myself. I will be respectful and I will also allow feedbacks to come through so that they can all understand. I will make sure I will have some clarity and concision.

REFERENCES:
Documen, e. :. (2007). EBP briefs. Minneapolis: Pearson,.
Godshall, M. (2010). Fast facts for evidence-based practice : implementing EBP in a nutshell. New York: Springer Pub. Co.
Sutch, D., Keller, M. A., & (Firm), C. P. (1994). Interpersonal communication skills. Boulde: CareerTrack Publications.